THEGAYUK

Category: Theatre

  • THEATRE REVIEW | Standing at the Sky’s Edge – Crucible Theatre, Sheffield

    THEATRE REVIEW | Standing at the Sky’s Edge – Crucible Theatre, Sheffield

    ★★★★ | Standing at the Sky’s Edge

    Standing on the Sky’s Edge is a new musical which centres around Sheffield’s Park Hill Flats housing estate, and cleverly overlays three stories of three families over three decades as they take residence in the now infamous building. From the ground breaking optimism of the buildings with “streets in the sky” in the early 70s; through the estates decline in the 80s and 90s and onto the current regeneration projects, the show delicately weaves the lives of the seemingly unconnected families together whilst looking at the social and economic changes faced by the city and its residents.

    Richard Hawley (known for his music with The Longpigs and Pulp) provide a mixture of new and old songs which melt seamlessly into the narrative and which are well spaced, well performed and slot nicely into the proceedings; whilst Chris Bush’s script is warm, witty and brims with northern charm and humour.

    But mostly, and at the show’s heart, are stories about love and how it can be tested in so many different ways; wrapped up in a love letter to any building which you can call home and to the city itself.  A husband who has given up, and a wife who won’t; a young couple who face tragedy and a young woman trying to break free of the ghost of girlfriends past all address the central issues with genuine emotion and a warmth radiating from the stage.

    The production is instantly accessible, with characters that feel familiar almost immediately, and some fast paced and assured direction from Robert Hastie, providing a feel of the business and hustle and bustle of the estate. The ensemble cast blend beautifully together as the years portrayed merge into one; and Faith Omole took everyone by surprise with a singing voice so serene, it quite literally stopped the show.

    Despite being a very local piece of theatre, there is enough in there to entertain those unfamiliar with the flats or its history; and makes the trip to Sheffield worthwhile, and being home the message, loudly and clearly, that home is where the heart really is.

    Standing on Sky’s Edge is at Sheffield Theatres until 6th April 2019.

  • THEATRE REVIEW | Betrayal, Harold Pinter Theatre, London

    THEATRE REVIEW | Betrayal, Harold Pinter Theatre, London

    ★★★★★| Betrayal, London

    Heartthrob Tom Hiddleston shines in Jamie Lloyd’s new production of Betrayal, now playing at the Pinter Theatre in London’s West End.
    Betrayal is one of the late Harold Pinter’s more well-known works (from 1978), and it also clocks in at a snip 90 minutes, but it’s 90 minutes that’s full of drama, tension, and in this new stage version, very well acted.
    In a play that goes backwards and forward in time but is never confusing, Hiddleston plays Robert, a successful book publisher who is married to the beautiful Emma (Zawe Ashton, from television’s Fresh Meat and who more than holds her own on stage). Emma, you see, has been having, for several years, an affair with Jerry (a very good and very good looking and sexy Charlie Cox – best known for television’s ‘Boardwalk Empire’ and ‘Daredevil’), who also happens to be Roberts’ best friend. But there is more to it than this. Jerry and Emma have had a flat for their not so secret trysts for years, and Robert has known, because Emma told him, about the affair.
    Meanwhile, Jerry also has a wife and child. But as the plot goes back three years, to a time when Emma and Robert were very happy, to the beginning of the play when Emma announces to Jerry that she and Robert are splitting up, its one betrayal after another in a show that cleverly uses a chronology to tell the story in reverse. ‘Betrayal’ is also about a clandestine love affair, and lies told, in a show portrayed on stage by actors who are at the top of their game. And the three main cast members are always on stage, with one hovering in the background creating an eavesdropping like mood. 
    Hiddleston displays a very vulnerable side of him as the spurned husband who seems to be the innocent one amongst all the betrayal. And as Robert Hiddleston, near the end of the show which is actually near the end of the middle of the show, breaks down as he learns from Emma about the affair. It’s powerful stuff by a master of the stage (Hiddleston was also very superb in 2013’s ‘Coriolanus’). Ashton is good as the woman at the centre of two men who really really want her, while Cox brings a lure of sex appeal and confidence where we can see why Robert keeps him as his best friend and why Emma is having an affair with him even though she has her own family. All in all, Betrayal, with a set that is stripped to the bone, is very dramatic, and theatre at its best.
    Betrayal must end on June 1st, 2019
    For tickets, please go to:
    https://www.pinteratthepinter.com

  • Theatre Review | Northern Ballet’s Victoria – Leeds Grand Theatre and National Tour

    ✭✭✭ | Northern Ballet’s Victoria

    Photo Emma Kauldhar

    Following on from the award-winning historical piece, Casanova, Northern Ballet return to the history books for a brand new ballet. Victoria tells the story of the monarch and matriarch through the eyes of her daughter, Beatrice, as she edits her mother’s diaries shortly after Victoria’s death. The ballet looks at the relationship between Victoria and a number of the key figures in her life, including her husband, Albert, her daughter, Beatrice and her companion, John Brown.

    Cathy Marston’s choreography sparkles, switching between flowing movements and sprawling floor work to angular, precise and mechanical movements; and brims with symmetry and metaphor. In particular, the pas de deux between Victoria and John Brown in the first act was beautifully put together, aided by a stunning performance by Pippa Moore as Victoria and Mlindi Kulashe as John Brown, which conveyed a real moment of intimacy, vulnerability and emotion.  As always, the whole company’s performances were outstanding, the set was simple but effective and the costumes were impressive.

    Despite the strength of the performances, the movement and the technical aspects of the ballet, where the piece stumbles slightly is in the narrative, which at times lacks clarity; as it tries to cram in so much of Victoria’s life that it sometimes overreaches, glossing over key points which could have been really interesting. The thrust of the first act features heavily on the backstory of Beatrice and her relationship with her mother, whilst the slightly overlong second act focuses primarily on Victoria’s family life and her relationship with Albert. The complexity of the narrative, the flitting between past and present and the brevity of some aspects of the story mean that it is well worth purchasing a programme to enable you to keep an eye on the synopsis.

    Victoria is a visually sumptuous ballet, which can be enjoyed on two levels, either as a beautifully crafted piece of dance, or, with a careful focus and concentration, an interesting glimpse into the life of a historically influential figure.

    Victoria is at Leeds Grand Theatre until 16.03.19 before undertaking a national tour. It is also being filmed for a forthcoming cinema release.

  • THEATRE REVIEW | The Twilight Zone, Ambassadors Theatre, London

    THEATRE REVIEW | The Twilight Zone, Ambassadors Theatre, London

    ★★★☆☆ | The Twilight Zone, London

    You will travel through another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination. That’s the signpost up ahead – your next stop, the Twilight Zone!

    Yes, the Twilight Zone is where you landed, also known as the Ambassadors Theatre in Central London, where you will be taken into the unknown, places and situations that could or could not be real, people who may or may not seem who they are, it’s a show with lots of questions and very little answers.

    Were there 6 passengers on the bus? Then why are there 7 stranded in the diner? Were there three astronauts in the ship, or just one? Why does the jukebox keep turning on and off? Where do those cigarettes mysteriously come from? Who is that little girl who supposedly lives in the building, and why is she so quiet? Is that actually a black hole to another dimension in the daughter’s bedroom, and is this where she has disappeared into? All these questions and more make up for a night of very little suspense, drama and not a whole lot of terror.

    The series of eight episodes, selected by the writer Anne Washburn from 156 episodes from the 1960’s television show does not transfer well to the West End stage. Turning eight 30-minute television programs into a two-hour show, all interweaved with each other, makes for a bit of confusement.

    The first half of the Twilight Zone, the television show which was created and hosted by Rod Serling, is a bit messy and lacks suspense because of the multiple storylines, but it’s the second half where the tension keeps you on the edge of your seat. Nuclear missiles are heading towards America, and neighbours are pitted against each other in order to survive, and where one already had a nuclear shelter.

    Everyone wants to survive so they try to break their way into the shelter, to no avail, but their true colours are revealed in their quest for survival. Intense Stuff! We are also treated to the ventriloquism of Adriana Bertola and her whisky drinking dummy, she is a genius as her dummy comes to life on stage. How does this all relate to the Twilight Zone? You will just have to buy a ticket and see for yourself.

    The Twilight Zones plays at the Ambassadors Theatre until June 2019. Book tickets here.

  • THEATRE REVIEW | Waitress, Adelphi Theatre, London

    THEATRE REVIEW | Waitress, Adelphi Theatre, London

    ★★★★☆ | Waitress, Adelphi Theatre

    (C) Alistair Muir

    An American musical about a waitress who bakes amazing pies to cope with life sounds too whimsical for words. You’d expect to come out of the theatre feeling more nauseated than if you’d eaten an oven full of apple pies with whipped cream. This belter of a show is a surprising gem, though. Yes, it’s feel-good and frothy with sections that play out like a sex comedy but it’s also poignant and achingly sad, at times.

    Based on the 2007 indie flick, it’s the story of Jenna (Katherine McPhee), a small town diner waitress who’s unintentionally become pregnant by her abusive loser husband who she dreams of leaving. To complicate things further, she’s smitten with her obstetrician (David Hunter). It’s also a story of the power of female friendship, with her colleagues, ditzy virgin Dawn (Laura Baldwin) and fierce Becky (Marisha Wallace) supporting her in her dilemma.

    Katherine McPhee is staggering with a voice that could shatter the hardest of heart as she belts out the repertoire of rock/folk songs by singer/songwriter Sara Bareilles. She’s amply paired with David Hunter as the likeable and unlikely heartthrob doctor. It’s a sweet rom-com with cracking music and a versatile set that sweeps you off to small-town America.

    There’s nothing not to like here. The songs are great, if occasionally forgettable, the cast nail it and the story is watchable. It’s fun and occasionally thought-provoking. Well worth seeing.

     

    Waitress plays at the Adelphi Theatre, until October 2019, Book Tickets Here

  • Theatre Review | Club Tropicana – National Tour

    Theatre Review | Club Tropicana – National Tour

    ★★☆☆☆ | Club Tropicana – National Tour

    After being jilted at the altar, lovelorn Ollie embarks on the planned honeymoon with his friends, arriving at Hotel Club Tropicana. However, unbeknown to him, his bride-to-be also had the same idea and arrives with her bridal party.  Meanwhile, overly camp entertainments manager, Gary, (X-Factor’s Joe McElderry) and hotel managers Robert and Serena have entered the hotel into a competition, and are in the midst of trying to butter up the hotel inspector, Christine, by any means necessary.

    Like many jukebox musicals, the wafer-thin story is used solely to wrap around the string of the Eighties hits, which are perhaps the show’s strengths, comprising primarily of upbeat classic pop which you can’t help but clap along to; whilst a bit of forced audience participation and a manic energy throughout the show resonated with the audience and created a party atmosphere in the theatre.

    The show sits somewhere between dated sit-com and pantomime, but with an added abundance of crass innuendo, stereotyped characters which belong firmly in the Eighties and plenty of jokes about bodily functions. Written with every cliché in the book, from the characters to the story and from the jokes to the borderline offensive stereotypes, there is nothing here by way of originality.

    But the show is silly enough to just about get away with it, and there are a handful of genuinely funny moments and some decent one-liners. Kate Robbins steals the laughs as Spanish maid, Consuela (yes, it really is that clichéd), McElderry camps it up whilst the ensemble cast dance their neon Day-Glo socks off. With plenty of nods to the decade that fashion forgot, and songs which you know all the words to, Club Tropicana is crowd-pleasing nonsense, provided you take it on face value and enjoy it for what it is.

    Club Tropicana is at Sheffield Theatres until 9th March 2019 before continuing its national tour.

  • THEATRE REVIEW | Follies, National Theatre, London

    THEATRE REVIEW | Follies, National Theatre, London

    ★★★★ | Follies

    follies national theatre review

    If you are a huge theatre fan, love musicals, and worship the ground Stephen Sondheim walks on, then you’ll love Follies.

    Playing in its second run in two years at the National Theatre, Follies is true and pure Sondheim. At the ripe age of 88, Sondheim currently has another hit show in the West End – the critically acclaimed and very popular Company. But Follies is a certain kind of musical – a musical that will perhaps only appeal to the die-hard Sondheim musical theatre fan.

    Follies lusciously and lavishly tells the story of former Follies girls, in 1971, coming back to their soon to be demolished theatre for a reunion. It is a brilliant idea for a show and is executed to flawless perfection. The women range in different ages and are at various stages in their live, but they will always be Follies girl, past performers of the “Weismann’s Follies” musical revue, that played in that theatre between the World Wars. While the next day the building is going to be demolished to make way for a parking lot, the women have one last night to reminisce about their time as Follies Girls and their younger and more glamorous selves.

    The book of the musical, by James Goldman, takes a look at these women through rose-tinted glasses in a story that is all illusion, smoke and mirrors.

    And while there is no proper character development, some of the women do get to shine in a cast that appears to be dozens (40 actually). Tracie Bennett smashes the Sondheim classic ‘I’m Still Here’ while Dawn Hope passionately sings ‘Who’s That Woman.’ Janie Dee excels in ‘Could I Leave You’ and Joanna Riding drips with emotion while singing ‘Losing My Mind.’

    Yes, Follies is a show that showcases the ladies. And while some of the men (Peter Forbes and his younger self Harry Hepple), and Alexander Hanson, get their moments, Sondheim shows his enthusiasm, appreciation and love for the ladies. For it’s their show, it has and always will be.

    Winner of Best Musical Revival at last year’s Olivier Awards, Follies is playing until Saturday, May 11, 2019.

  • THEATRE REVIEW | 9 to 5 The Musical, Savoy Theatre, London

    THEATRE REVIEW | 9 to 5 The Musical, Savoy Theatre, London

    ★★★★ | 9 to 5 the Musical

    (C) Photo Pamela Raith

    Dolly, no last name needed, brings to the West End the musical of her huge song and hit film 9 to 5, and it’s a hoot!

    How could we forget the film, which starred Parton, Lily Tomlin, and Jane Fonda as secretaries at Consolidated Companies who turn the tables on their misogynistic boss? The song has endured more so than the 1980 film, so it’s perfect that it’s been turned into a musical.

    9 to 5 the Musical had a brief Broadway run in 2009 and finally it’s here in London at The Savoy Theatre. Natalie McQueen is just about perfect and a dead ringer for Parton in the role of Doralee Rhodes, secretary to the flirting and very handsy boss Franklin Hart Jr. (a very good and game Brian Conley). Amber Davies is in the Jane Fonda role as Violet Newstead, who is newly divorced and finds herself starting a new job at Consolidated, while Caroline Sheen is Lily Tomlin in the role of Judy Bernly, who has worked at the firm for years yet keeps on missing out on promotions that go to men. One day Judy accidentally puts rat poison in Mr Hart’s coffee (or at least she thinks she did), but when Hart finds out he threatens to call the police so the ladies kidnap him and attempt to find dirt on him, which of course they do. But from start to finish, accompanied by fun songs and a dazzling set, and great performances from the cast (which also includes Bonnie Langford as busybody Roz Keith), 9 to 5 the Musical will drive you happy if you let it!!!

    Of course, there are some cringe-worthy moments, especially when Mr Hart grabs his balls and plays with his nipples during one song (‘Here for You’), while society has moved on about this sort of treatment of women in the workplace with the #metoo movement in full force. But overlook these as we all have a good time watching the show. And it’s Dolly who is our narrator in the beginning, middle and ending (a video, not her in real life, unfortunately) who sets up the story and then winds it up. ‘9 to 5’ is no longer a rich man’s game, it’s all for us to enjoy!

    9 TO 5 THE MUSICAL plays at the Savoy Theatre, Savoy Court, until 31 August 2019, Book tickets here.

  • THEATRE REVIEW | The Mousetrap – National Tour, 2019

    THEATRE REVIEW | The Mousetrap – National Tour, 2019

    ★★★☆☆ | The Mousetrap, National Tour

    After a murder in London, and with the snow falling heavily outside, Monkswell Manor, a guest house, opens its doors to welcome its first five seemingly unconnected, guests, some of whom are expected, some of whom aren’t. But the night is interrupted by a phone call and the arrival of the police warning that there is a killer on the loose and that there more murders expected in the isolated house. But who is the murderer, who are the victims and who will survive?

    The Mousetrap is the longest running show in the West End and when I first saw it in 2013, having not read or seen any Agatha Christie and with a curiosity to see what made this theatrical legend so special, I found it suitably engaging, and seeing it again on this new tour was just as enjoyable.

    As one would expect with Agatha Christie, the story is one of a mixed bunch of characters; including the grumpy old woman, the retired army general and the delightfully camp young bachelor; and the intelligent writing had you casting doubt on each of the characters in turn, as their secrets slowly surface. But the fun comes in the last twenty minutes or so, as the killer’s identity is revealed and you can see whether you were right in your deductions.

    On this tour, there are high spec production values, with a sturdy and detailed set and an ambient sound and lighting design; and there are good central performances from Geoff Arnold as Sergeant Trotter, Gwyneth Strong as Mrs Boyle; and in particular, Lewis Chandler standing out from the crowd as  Christopher Wren.

    Despite the show being somewhat of its time and harbouring a terribly twee closing scene, The Mousetrap retains its ability to engage the audience without flashy visuals or an over the top production, and simply allows some good performances and classic story writing to shine through in a night of old fashioned entertainment.

    The Mousetrap is on national tour and details can be found at the show’s website.

  • THEATRE REVIEW | Come From Away, Phoenix Theatre, London

    THEATRE REVIEW | Come From Away, Phoenix Theatre, London

    ★★★★ | Come From Away

    come from away theatre review

    Before September 11, 2001, no one had ever heard of the tiny town of Gander, Newfoundland. But on that horrible, horrible day, the townspeople (no more than 10,000 people) welcomed in and took in thousands of people who were on Westbound planes that were diverted to this place in the middle of nowhere.

    This story is told in the musical Come from Away. Winning many awards in its Washington D.C. and Broadway runs, this popular show has arrived into London with much anticipation. And the show surely lives up to it.

    Gander has a small airport, where the nearest Starbucks in four hours away, and where there are a total of 550 hotel rooms. But on 9/11, 6,579 people were grounded in Gander. And it was the townspeople who opened up their homes, and hospitality, to these passengers who at the time at arrival had no idea as to what was happening (this was before everyone had mobile phones).

    The characters in this show are based on (and is most cases share names of) real Gander residents and the passengers on these planes. The actors play both the passengers and citizens, switching roles every now and then. While it does get a bit confusing in the beginning, as the show rolls on and the music starts to kick in, Come from Away gets more uplifting, until it, and the residents of Gander, have really won us over.

    Beautiful songs such as ‘I Am Here’, beautifully sung by Cat Simmons, whose son was a firefighter in NYC, ‘Stop the World,’ sung by Robert Hands and Helen Hobson who were passengers and ended up falling in love, and ’Something’s Missing,’ sung by the entire company after the 9/11 passengers all left Gander – show us how the human spirit was alive and well the week the world changed. With incredible book, music and lyrics by Irene Sankoff and David Hein, and sharp direction by Christopher Ashley, Come From Away may not only bring you to tears, but it will also lift up your spirits.

    It had been announced that there will be a feature film adaptation of Come from Away, with Sankoff and Hein writing the script and Christopher Ashley as director. I’m really looking forward to seeing the movie version of this moving and cathartic musical. 

    Come From Away plays at the Phoenix Theatre until 19th September 2019. Book tickets here.

  • THEATRE REVIEW | The Rocky Horror Show – National Tour 2019

    THEATRE REVIEW | The Rocky Horror Show – National Tour 2019

    ★★★★★ | The Rocky Horror Show

    Nearly 45 years on from its debut, Richard O’Brien’s cult musical needs very little introduction. The show follows Brad and Janet, two 50’s Americana sweethearts who stumble upon the castle of Frank-N-Furter; a cross dressing scientist cum force of nature, on the evening that he is to bring his Frankenstein-esque playmate to life.

    As a musical it remains larger than life; and like Frank’s creation himself, the show has taken on a life of its own. With its affectionate nod to the B-Movie science fiction genre of the 50’s, it’s cult following is unparalleled and its fans amongst the most fiercely loyal you will find.

    The role of Frank-N-Furter is so iconic, that you need a larger than life personality to fill the fishnets, and Stephen Webb does a great job blending Frank’s camptastic alluring persona whilst maintaining an underlying gruffness to his vocal performance, along with Philip Franks as the narrator, brilliantly trading quips with the audience. But to be fair, you would be hard pressed to find a weak link within the cast in this top-notch production.

    Rocky Horror is presented here in all its gloriously loud, brash, colourful, neon day-glo garishness, with a set which looks luxurious and holds an almost cartoon-like feel to it; all accompanied by an excellent lighting design by Nick Richings which flooded the stage in reds, greens and purples, and some steady direction by Christopher Luscombe.

    Rocky Horror is a phenomenon, and the atmosphere at any Rocky Horror performance is one which has to be experienced. This production provides a fresh feel to a classic show and one which engages the audience like no other. So pull on your fishnet stockings, warm up your vocal cords, leave your inhibitions in the foyer and go and “give yourself over to absolute pleasure”.

    Rocky Horror is at the Sheffield Lyceum until Saturday 23rd February 2019, before continuing on its national tour. For details visit the show’s official website.